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Despite the flaming torches of the plebeian plotters which, in the Prologue, etched chiaroscuro omens within the Palladian porticos of Michael Yeargan’s imposing and impressive set, this was a rather slow-burn revival of Elijah Moshinsky’s 1991 production of Simon Boccanegra.

What a treat the London Music Conservatoires serve up for opera-goers each season. After the Royal Academy’s Bizet double-bill of Le docteur Miracle and La tragédie de Carmen, and in advance of the Royal College’s forthcoming pairing of Huw Watkins’ new opera, In the Locked Room, based on a short story by Thomas Hardy, and The Lighthouse by Peter Maxwell Davies, the Guildhall School of Music and Drama have delivered a culinary coupling of Paul Hindemith’s The Long Christmas Dinner and Sir Lennox Berkeley’s The Dinner Engagement which the Conservatoire last presented for our delectation in November 2006.

Advertised in the program as the first opera written in the New World,
La Púrpura de la Rosa (PR) was premiered in 1701 in Lima
(Peru), but more than the historical feat, true or not, accounts for the
piece’s interest.

“German poet, dramatist and novelist. One of the most important literary and cultural figures of his age, he was recognized during his lifetime for his accomplishments of almost universal breadth. However, it is his literary works that have most consistently sustained his reputation, and that also serve to demonstrate most clearly his many-faceted relationship to music. . . .

On the terrace of the house of the bailiff, children are practicing Christmas carols. Sophie, the bailiff’s fifteen-year-old daughter, looks on while her older sister, Charlotte, prepares for a party. The guests arrive. Among them is the young dreamer Werther (“Je of it sais him je veille”), whom the bailiff introduces to Charlotte. While all are at the dance, Sophie is at home alone when Albert, who is engaged to Charlotte, returns from a long trip. He is greatly disturbed that Charlotte has gone to a dance with another. But Sophie reassures him — his beloved has always thought of him (“Elle me aime”). The two depart, whereupon Werther and Charlotte reenter. Werther declares to her his love, but Charlotte tells him of her promise to her dying mother to marry Albert. Werther, although desperate, doesn’t oppose (“The faut nous séparer”).

Act II

The following September in the plaza of Wetzlar.

Albert and Charlotte have been married for three months and their friends toast their union. The unhappy Werther attends. Sophie arrives, who is in love with Werther, asks him to dance; but the invitation is rejected. Werther wants to talk to Charlotte. He approaches her to declare his love once more. But she responds by recommending that he leave for a few months and return on Christmas. Werther begins to think that only death can free him from his unhappiness. He again refuses Sophie’s invitation to the dance.

Act III

Christmas Eve in the living room of Albert’s house.

Charlotte is uneasy as she rereads a letter of Werther. Sophie asks her if she were sad because of the absence of Werther (“Je vous écris”). Charlotte begins to weep. Werther arrives. While he is reading her some verses of Ossian, he kisses her. They embrace, but Charlotte then runs away confining herself in a room (“Pourquoi me réveiller”). Werther leaves the house. He now knows that there is no happiness for him. Shortly thereafter he sends a note to Albert to ask him to loan him his pistols to take with him on a trip. Charlotte realizes the truth and hurries to Werther’s home.

Act IV

It is Christmas night.

Werther lies dying in his study. Upon hearing the voice of Charlotte, he is revived for an instant. He asks for forgiveness and for a proper burial (“Là-bas, au fond du cimitière”). He dies in Charlotte’s arms as she confesses the truth — she has always loved him. She expresses her regret at having sacrificed her own true feelings to an oath. Children are heard from afar singing Christmas carols.